IntroductionMore
than speakers, equipment, cables and even source material, your room is
the single most important component in your audio/video system. While
this comes as no surprise to many enthusiasts, be it two-channel or
home theater, the room and its interactions (good or bad) with the
sound is often overlooked, or worse, ignored. The science of sound can
be a bit daunting and not quite as fun or interesting as reading about
the latest Blu-ray player or high-dollar power amplifier, yet in many
ways, it is vastly more important. I’ve heard million-dollar systems
sound less than impressive, while some of my most memorable aural
experiences can be traced back to a pair of $300 a pair mini-monitors
powered by a simple stereo receiver. How could this be? The room
acoustics and tuning have a lot to do with a successful system.

Your room is so important that many companies offer
services, ranging from acoustical treatments to complete room and
acoustical design, which begin at the construction level. While some
form of an acoustic fix can be had for as little or as much as you’re
willing to spend, the bottom line is that no room is perfect and every
room affects your system’s sound. Room treatments are well and good,
but there are those of us who may have to answer to a higher power,
a.k.a. our significant others, and he or she may not appreciate the
sight of several fabric-wrapped fiberglass panels hanging in the living
room. There are companies that will design and help coordinate the
building of a dedicated space for you and your system, but this route
requires the utmost dedication, not to mention deep pockets.

What if I told you that there was a third option, one that didn’t
necessarily require room treatments, nor taking out a second mortgage
on the house? In fact, what if I told you this option would sit in your
rack and solve most (if not all) of your acoustic problems and was
completely automated from start to finish? Would you be interested in
it? I thought so.

Introducing
the Audyssey Sound Equalizer from Audyssey Labs. The Audyssey Sound
Equalizer is a computer-aided and automated system that uses digital
filters to correct problem nodes and acoustic anomalies in your room
without the need for costly acoustic treatments or potentially
expensive remodels. Audyssey is starting to build a little brand equity
for themselves with some OEM partnerships – in fact, most Denon
receivers sold today feature some sort of Audyssey EQ software. While
their standalone solution, the Audyssey Sound Equalizer reviewed here,
may have a little in common with its receiver-based brethren, I assure
you its implementation, flexibility and power set it not only apart but
way ahead in terms of performance.

The Audyssey EQ is
a standalone device roughly the size of a modern DVD player, so
integrating it into your current system is simple. The Audyssey EQ’s
front panel is as basic as they come, with seemingly no buttons or
controls cluttering up its smooth silver façade. In fact, the only
control found on the front of the unit itself is a large red button
with “EQ” screened across it that turns the EQ’s processing on and off.
To the right of the red button is a small indicator light that glows
green when the Audyssey EQ is working and red when it is off. The back
of the Audyssey EQ is slightly more involved, but by no means
complicated. The back panel features a master power switch flanked by a
typical detachable power cord receptacle. Moving further right, you’ll
find the unit’s RS-232 port, as well as a USB input and two Audyssey
installer test ports. Moving to the center of the back panel, you’ll
find the Audyssey EQ’s eight analog audio outputs, which connect the EQ
to your amplifier(s). Furthest to the right are the Audyssey EQ’s eight
analog audio inputs that connect the EQ to your pre-amp/processor. The
Audyssey EQ is designed to sit effortlessly between your
pre-amp/processor and amplifier(s). There is no remote and Audyssey
leaves it to you to supply your own analog audio cables. Without
getting into the set-up, the Audyssey EQ is extremely simple and easy
to integrate into an existing system, and can be yours for $2,500 from
your local Audyssey dealer.

Set-upWhile
the Audyssey EQ itself may be the epitome of simplicity, its internal
hardware and subsequent results on the sound of your system are
anything but. You can also get a professional installation and
calibration from an Audyssey trained technician. For the purpose of
this review, I had to play both consumer and installer in order to
better illustrate the hows and whys of the Audyssey EQ.

My Audyssey EQ came with the Audyssey Professional Installation Kit,
which consisted of a gym-like bag that housed a small calibrated
preamp, a calibrated microphone and stand, the Audyssey MultEQ Pro
Application CD, four 18-foot-long XLR audio cables, one 10-foot USB
cable and a single XLR to RCA adapter.

Starting from the top and with the help of the supplied manual, I
placed the Audyssey EQ in my Middle Atlantic rack between my Meridian
G68 controller and my Outlaw 7200 and Mark Levinson No. 433
multi-channel amplifiers. Next, I connected several pairs of UltraLink
HT Reference cables between the Audyssey EQ and my above-mentioned
components, leaving the Audyssey EQ’s analog input marked 1/mic empty
for the time being.

Now would be a good time to point out that the Audyssey EQ can work its
magic on multiple systems in multiple rooms if need be. For example, my
main home theater consists of a 5.1 Meridian-based in-wall speaker
system, which leaves two analog inputs and outputs free on the back of
the Audyssey EQ. During the set-up and calibration process you, or
better yet, your installer, can select those remaining two
inputs/outputs to interact with another system. In my case, I used them
for my two-channel system consisting of my Mark Levinson No. 326S
preamp and No. 433 amplifier powering my Paradigm Signature S8s (review
pending). The Audyssey EQ’s ability to provide separate and unique
sound equalization in multiple environments is not only a huge benefit,
but also an incredible value.

Back to the installation, into the bag I went. First, I removed the
small black box labeled “calibrated preamp” and its matching calibrated
microphone and stand. I placed the microphone on the stand and
positioned it so that the top of the microphone was in my primary
listening position. Unlike conventional room treatment solutions,
Audyssey takes the listener out of the equation and substitutes the
calibrated microphone for the human. I then connected the microphone to
the calibrated pre-amp via one of the supplied XLR cables. From there,
I connected my Dell PC laptop computer (sorry, no Mac support here) to
the back of the Audyssey EQ itself via the supplied USB cable. From
this point on, the calibration process is handled via computer. I
installed and ran the Audyssey Application CD and simply followed the
onscreen prompts. The onscreen menus through not only walked me through
the registration process, but also allowed me to dictate what inputs on
the Audyssey EQ would be used in what system or zone and for what
purpose. I’m pretty harsh on computer automated set-ups, but I have to
say, the Audyssey EQ’s set-up program is easy to understand and even
easier to use. Once I finished telling the Audyssey EQ everything it
needed to know, which included my current room dimensions, equipment
lists and speaker makes and sizes, it was time to get down to the
calibration.

With
the microphone in place, I connected it to the rear of the Audyssey EQ
and the input marked 1/mic, using the supplied XLR to RCA adapter. I
returned to my computer and engaged the measurement command. After a
short delay, the Audyssey EQ cycled through each speaker by playing a
series of “chirps” that the microphone hears and translates back to the
Audyssey EQ and my computer, creating a series of measurements for my
primary listening position, or “position one,” as the program referred
to it. This process was then repeated as I moved the microphone
throughout my room, stopping at each of my subsequent listening
positions. I ended up with eight total positions (the Audyssey EQ
requires a minimum of three) when everything was said and done. Once
all of the positions had been entered, the program compiled all of the
data and presented me with a Detection Results screen. The Detection
Results screen laid out my system and subsequent zones in terms of
speaker size, distance, trim, polarity and crossover frequency. Once I
double-checked everything to make sure all was well and that my gear
was set up to match the Audyssey’s results, it was time for an overall
target sound curve.

The Audyssey program offers three
distinct curves. The first is Flat, which should produce the flattest
acoustic response across all of your positions for a more or less
neutral presentation. It is recommended that this option only be used
if your preamp/processor has a THX re-equalization engaged, which
produces its own high frequency roll off. The Flat setting may have
applicability in large, very dead rooms. The second choice is High
Frequency Roll Off 1, which does exactly what it says, i.e., roll off
the highs to better balance overall frequency response. This setting is
recommended for rooms that are 3,500 cubic feet or less. Next, you can
choose High Frequency Roll Off 2, which uses a slightly more aggressive
roll-off curve then the Roll Off 1 setting. The Roll Off 2 setting is
recommended for rooms larger than 3,500 cubic feet. Lastly, there is a
setting labeled SMPTE 202M, which is a curve that represents an
international standard for high-frequency roll-off applied to a typical
500-seat movie theater. This setting is recommended for users with
insanely large listening spaces or dedicated rooms. The program will
allow you to try all of the curves and decide which one is best for you
and your room before finalizing and programming said curve into the
Audyssey EQ itself.

After listening to each option, I
ended up choosing the Flat curve and saved the results. What followed
happened completely in the computer realm, as the program began to
extrapolate the data and apply the subsequent filters to correct and
compensate for room nodes and acoustic anomalies that take away from
the purity of the sound. I then disconnected the microphone from the
Audyssey EQ and connected my last remaining RCA cable to the input
marked 1/mic and transferred the settings on my computer to the
Audyssey EQ itself.

At this point, Audyssey can show you a series of before and after
graphs, based on the data the microphone collected and the resulting
curve you chose to apply. While I don’t pretend to know everything
about acoustical data, I do know what a proper sound wave should look
like and, I must say, after performing the calibration, my graphs went
from looking like the Swiss Alps to a dry lakebed. While the set-up I
have just described may sound long and complicated, I assure you, it is
not. The whole process did take some time – I clocked it at around an
hour and a half – but the results are truly dramatic and well worth the
effort. Then again, if you buy the Audyssey EQ, the effort will be on
the shoulders of your installer, while the rewards will be all for you.

Technically, the Audyssey EQ has no “sound” of its own. Instead, it
should allow for you to hear your system anew, the way it was meant to
be heard, free from the adverse effects of your room. Does the Audyssey
EQ work? Oh, hell, yeah, and the results are not subtle. My room,
before the Audyssey EQ, was no slouch, for I had designed into my
fabric-covered walls a myriad of acoustical treatments and solutions.
Still, there was room for improvement, due largely in part to the shape
and layout of the room itself.

Movies And MusicStarting
with Norah Jones’ latest album, Not Too Late (Blue Note Records), the
sound the Audyssey EQ freed my system into producing was, for lack of a
better word, stunning. Norah’s vocals were clearer, more accurate and
full of detail with the Audyssey EQ in my system. The resulting sounds
stemming from the simple drum kit on up were jaw-dropping. Bass lines,
especially double bass, firmed up considerably, resulting in an
increase in audible definition. The whole spectrum sounded as if it had
been dusted off and polished. The midrange was sublime and warm,
without any signs of bloat. Everything within the soundstage snapped
into supreme focus. Even when playing back “Wish I Could” through my
Meridian in-walls, the soundstage width and depth was truly impressive.
Another nice benefit, due largely to the Audyssey’s multi-position
calibration, was the fact that the soundstage was much more
accommodating of multiple listeners. Friends commented that the overall
coherence changed very little as they moved right to left on my sofa.
No longer, it seems, are audiophiles forced to keep their head in the
proverbial vise in the sweet spot of the room.

Moving
onto multi-channel music, I opted for something a bit harder and went
with the DVD-Audio version of Core from Stone Temple Pilots (Atlantic).
While not usually revered for its multi-channel mastering and quality,
the DVD-A version of Core proved more than eye-opening, with the
Audyssey EQ. Again, vocals gained in clarity tenfold and the same held
true for the band’s raging guitars and driving drums. The bass overall
was more tightly controlled and rife with definition, so that I felt I
was hearing the whole album for the first time. The band’s dynamics
improved from merely fast-paced to explosive. All of the band’s grit
and rawness, especially Scott Weiland’s vocals, were preserved without
becoming excessive or harsh. Seriously, the Audyssey EQ simply works
and does absolutely nothing objectionable to the sound itself. It is
the only product of its kind I have auditioned that seemingly has no
audible drawbacks when it comes to stereo or multi-channel music.

Next,
I fired up my DVD Audio disc of Santana’s Supernatural (Arista). This
is an album that needs no introduction, especially the Rob Thomas duet
“Smooth.” Again, with the Audyssey EQ in tow, the entire musical
presentation improved dramatically. The higher frequencies, especially
Santana’s own guitar, were crystal clear and more resolute then I had
previously experienced with the higher-resolution format. Rob Thomas’
vocals were, pardon my pun, smooth and inviting. The bongo drums had a
little extra zest to them, which came in the form of air, reverberation
and extension into the room. Everything became more palpable and
three-dimensional across the board. I skipped back to another Santana
duet, “Put Your Lights On” with Everlast. While I don’t particularly
like the sound of Everlast’s voice, I did like what I was hearing with
the Audyssey EQ. If I may be frank, to me, Everlast sounds like a man
straining on the toilet while sucking back a pack of Marlboros. With
the Audyssey EQ in my system, I got all of that and more. Everlast’s
voice is truly gritty and, without making it overtly harsh, the
Audyssey EQ did little to mask what I loathe, which I found to be an
incredibly good thing. The Audyssey EQ can and will make your system
better as it pertains to your room. However, it cannot make your system
or the music being played back better, which I find to be incredibly
useful for those with reference systems and/or reviewers like myself
who try to give every piece of new gear a fair shake.

I
ended my evaluation with director Edward Zwick’s latest epic, Blood
Diamond, on DVD starring Leonardo DiCaprio (Warner Home Video). Blood
Diamond is one of those films that stays with you long after you turn
it off; it’s beautifully executed from start to finish and sheds a
much-needed light on some problems facing the global community as it
pertains to the continuing struggles in Africa. None of the film’s
meaning or impact was lost when played back with the Audyssey EQ in my
system. In fact, as impressed as I was with the Audyssey EQ’s musical
performance, I was absolutely floored by what this little silver box
can do for movies. Dialogue, even during complex actions scenes
featuring manic gunfire and roaring helicopters, was not only easily
discernable, but also carried with it appropriate weight and scale. The
actors no longer sounded as though there were a microphone between them
and the listeners. Action sequences, like the climatic onslaught at the
RUF camp, were almost aurally overwhelming with the Audyssey EQ for
every single element, from the strafing of the sands to the rustle of
the leaves, was brought to life in ways that began to trick the mind
into thinking a lot of the action taking place was actually happening
in the living room. Don’t believe me? One only has to press the on/off
toggle on the Audyssey EQ’s faceplate to hear what I’m talking about.
In terms of overall performance, forget about it. Everything, and I
mean everything, is more defined, more spacious, more dimensional and
overall more real when the Audyssey EQ is fired up. It’s simply magical
what the Audyssey EQ can do.

The DownsideI
would love more than anything to have this be the first AVRev.com
review without a downside, but then I wouldn’t be doing my job and
there are a few things that bugged me. However, none of them have
anything to do with the Audyssey EQ’s performance.

First, I would love to have seen the Audyssey EQ’s USB and microphone
inputs located on the front of the faceplate instead of the rear. While
I appreciate the Audyssey EQ’s simple elegance, I feel front-mounted
ports would have been extremely useful, especially for those of us with
large rack-mounted systems or with a tendency to change out gear
readily.

Lastly, I don’t like the fact that the $2,500 price doesn’t include the
calibration kit. While most users will go through the set-up process
once and be done, I can’t help but think that a few are going to want
to experiment and make changes down the road, which can’t be done
without a dealer/installer’s help. Frankly, why go through all the
trouble of making your installation software so easy to use that a
child could do it, only to never really allow the consumers to play
with it themselves?

ConclusionWith
a retail price of $2,500, which includes professional in-home
installation and calibration, the Audyssey EQ is simply stunning, if
not a mind-boggling value. I can think of no product in recent memory
that has been the cause of so many moments of sheer amazement as the
Audyssey EQ. I consider it to be one of the few products out there in
the consumer electronics marketplace that honestly makes good on its
claims and does so with zero adverse effects to buyers and their
systems. I can not stress enough how important your room is to the
overall sound of your system, and unless you’re willing to build or
re-build your room from the ground up, it is urgent that you find a way
to get your hands on an Audyssey EQ.